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Being an Iranian Stand-Up Comedian Is No Joke

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Iranian comedian Siavash Safavi recently took the stage in Toronto to talk about time zones between Iran and Canada. “My friend always calls me at 3 a.m. and asks, ‘What’s the time difference between Canada and Iran, anyway?’” he said. “I tell him it’s 50 or 100 years.”

Although it sounds light, this joke isn’t something Safavi could say in his home country. “There are limitations on all topics—there are no jokes about religion, the regime, international politics,” said Safavi, a dissident who has been living in Toronto for five years. “You might see some mild sexual innuendo, by Iranian standards.”

According to Safavi, there’s no stand-up comedy scene in Iran—not even comedy clubs or cafes where stand-up is performed. “Stand-up is solely limited to TV, and those who dare to challenge the regime use YouTube and social media,” he said. “Even if they do something edgy or against the regime’s ideology, the regime doesn’t go after them, which allows them a little wiggle room.”

In light of the recent anti-government protests across Iran, are comedians and satirists silenced down to the last joke? The hardship is worse than ever, even though those outside of the country can only use the opportunity to speak up. “Like all dictators, Iranian dictators don’t like satire and comedy,” said Maryam Faghihimani, an Iranian researcher and founder of Oslo’s Centre for Cultural Diplomacy & Development. “Since the current regime in Iran doesn’t recognize freedom of speech, freedom of expressions, and freedom to insult, any stand-up comedian or satirist who crosses the red lines will be banned from performing, fined, or jailed.”

Political cartoonist Atena Farghadani was imprisoned for 18 months for drawing a cartoon that criticized the parliamentary members for neglecting women’s rights in Iran. “A number of comedians and satirists who used to have their show broadcast from Iranian state TV were banned for coming too close to the red lines,” she said. “But even if these stand-up comedians don’t have any political connotations or insult to the religious values, those who believe in a strict version of Islam and sharia laws disapprove of such shows because to laugh and listen to jokes is a sin itself—that it creates moral corruptions and encourages people to commit other sins.”

Some manage to still break the red tape, though—like Iranian comedian and satirist Hadi Khorsandi. “He’s defiant, clever, erudite and funny,” said Abbas Milani, the director of Iranian Studies at Stanford University. “It’s a dour regime that tries to censor everything particularly laughter and comedy, but Iran has a rich tradition of comedy and satire that is sometimes ribald, always critical of hypocrisies and false pieties and that tradition continues to exist.”

There is a way to take a lighter attitude—to laugh at the way comedy is treated in Iran. “People do it all the time,” said Milani. “All kinds of comic tapes and programs are produced and distributed illegally.” To Omid Djalili, a British comedian with Iranian roots, it’s a grey area between what one can get away with under the regime in Iran. “It won’t stop anyone being creative or having fun with it—in fact, we thrive on it,” he said. “Artists in Iran have to be good at hoodwinking authorities into thinking their films are not as subversive as they really are; the same with comedy. On paper, I am a mainstream Middle Eastern crowd pleaser, and that’s part of my own narrative of hoodwinking.”

To Zahra Noorbakhsh, an Iranian comedian who’s based in Los Angeles, joking about her Muslim and Iranian identity has changed as it becomes more in the political spotlight. “As soon as I mention that I’m Muslim and Iranian, it’s like the whole audience starts taking notes, it’s an incredible amount of responsibility, I have to think very carefully about my syllabus—I mean, jokes,” she said. Playing live is different than what it once was; she hosted a stand-up show called “All Atheists are Muslim,” which ran from 2011-2015. “Now, I’m more careful about what campuses I’ll perform at and which events I will go to,” she said. “I find myself writing more and performing less. In the past, to hype a show, I’d send out press releases and put up posters all over town. Things are different now.”

To Maz Jobrani, an Iranian-American comedian based in California, it’s important for Iranian—as well as Muslim—comics to take the stage across America. “Trump’s rhetoric has emboldened many racists to attack Muslims in ways that might not have been happening before,” he said. “There seems to be more anti-Muslim rhetoric these days—people demonizing Muslims without even knowing who they are. Most Muslims in the U.S. are peaceful people just living their lives, but the current political climate has made it okay to attack them verbally and even physically at times.”

Despite the limitations, comedians are still finding a way to have their voice heard under the regime in Iran, too. “The dictators hate and fear comedy, satire, laughter and happiness because it helps people to express themselves freely and refuse being controlled and manipulated,” said Faghihimani. “We see the courageous artists such as stand-up comedians keep performing in public and private arenas and try to push the limits even though it may cost them. Humor, irony and satire have a deep root in Persian culture, the regime might have changed the rules overnight but they can’t change our culture.”

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This article originally appeared on VICE US.


I Went to a Party for a 'Hip' Bidet and It Made Me Feel Like an Asshole

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I'm standing next to a nude model talking to two guys about how a common gluten-free Ethiopian grain might be the next quinoa. A few feet to my left, members of the media and other guests who will soon repeatedly pitch me their various startups are being served vodka out of a toilet bowl. (Six Point beer is available as well.) A few feet to my right, a man is painting a portrait of the naked guy. There's a plate of turd-shaped double-chocolate cookies getting passed around. There's a sign-up sheet for an "external butt massage." There's a woman walking around in an asshole costume—because, if you haven't caught on yet, I'm at a party to celebrate a bidet.

This is all happening in probably the only place it can: Williamsburg, Brooklyn, inside a refurbished church that's been converted into an apartment building, on a street where the addresses are not in numerical order. I'm in the home of Miki Agrawal, the founder of Tushy, a product that can turn your very normal toilet into a bidet. The price point for the device starts at $69, because of course it does. Subtlety, as you can see from the seemingly infinite number of bathroom-related puns on the company's website, is not part of its PR strategy.

Assholes eat cookies, too. Photo by Mike Breen

Agrawal herself isn't subtle, either. She's perhaps best known as the former CEO of Thinx, the absorbent underwear designed to replace pads and liners while breaking taboos, before she had to step down from the company amid claims of sexual harassment—allegedly discussing an employee's breasts and another's pierced nipples, among several other complaints. There were other HR issues that included, according to a feature on Racked, more than just the fact that Thinx at the time had no HR department. (Poor benefits and insufficient maternity leave being two others. Agrawal addressed some of these shortcomings in a post on Medium.)

Now, nearly a year after her exit from Thinx, I'm in her spacious kitchen as she steps back into the spotlight to kick off Year of the Asshole, Tushy's new video and butt-awareness campaign. Eventually, I'm able to escape my conversation about trendy wheat alternatives, and wander.

The creative process. A photo by Mike Breen

The naked man facedown on the sofa in the living room is 27-year-old Franko Stevens. "I keep moving around, and I think he's getting pissed, " he says to me, gesturing toward the man painting his portrait. "They told me to think of Rose in Titanic."

Not an adherent to realism. A photo by Mike Breen

After some personal and professional info ("I don't do full frontal"), Stevens suggests I check out the other room, where a naked woman is in much the same position, only she's surrounded by mirrors. The human being dressed like an asshole seconds the recommendation, so I go in with a few others and close the door.

I wonder what brought me here. Photo by Mike Breen

It's a space Tushy's marketing head, Carrie Yang, enthusiastically mentioned earlier in the night when she was running down a list of all the party had in store. It's supposed to force us to fully notice the body, butt and all, she explained.

I don't chat much with the model in the room whose body and butt I've come to fully notice, because Agrawal launches into her speech while holding her baby. Bidets are environmentally conscious, she says, wearing her now-signature big-ass hat while pointing out how toilet paper's such a waste—it takes 37 gallons of water to produce a single roll, and Americans use 36.5 billon rolls annually. Bidets, she tells us, are a cleaner alternative that don't require 15 million trees a year to produce. They are already prevalent across Europe and in Japan. It's only a matter of time before they take off in the US, she says.

Agrawal plays a video—"Tushy Presents I'm an Asshole"—that features the girl in the full-body-suit asshole getup saying things like, "You're probably asking, 'What is Tushy?' And to that I say, 'You're dumb AF,'" while people poop their pants and fart. "Tushy uses the tap water from your wall to wash the dookie cookies from your famous anus," the asshole cheerfully exclaims after telling the viewer about how easy it is to install and use. "Tushy is a sleek, modern bidet attachment that'll wash your crusty crap cannon after you drop a few dos ickies." The asshole's best point is an obvious one. If you got poop anywhere else on your body, cleaning off with paper alone wouldn't suffice. Why, then, "wipe your pretty little fudge factory with TP?"

Tushy's founder, Miki Agrawal, with her child. Photo by Mike Breen

Before I'm able to completely mull this over, a representative from a sex store, Pleasure Chest, teaches everyone about safe anal play.

The audience learns about safe anal. Photo by Mike Breen

The entire evening, the only person not actively attempting to sell me on the wonders of the bidet attachment or their own startup idea is the woman hired to read minds. She is, I am assured repeatedly by various partygoers, a "real witch." After Agrawal's monologue and some tips on fingering from the sex-toy guy, I wait in what I believe to be a line. When it's finally my turn, I sit on a bed with the self-proclaimed "goddess," who analyzes my Tarot cards and instructs me to take a photo of them.

A real witch predicts my future. Photo by Mike Breen

We have a discussion about old kings and queens, as well as the abandonment issues surrounding my father's absence. "You are going to birth a creative child soon," she tells me. "Look at [the photo of] the cards right before you go to bed." I will have a dream, she insists. In the morning, I'm to jot down the first thing that comes to mind, without interpretation. What I've written will set me on a path.

At home, I wake up in the middle of the night to use the bathroom. I realize I have completely forgotten to follow her instructions. I wipe my ass with paper and flush the toilet, lost and without a path, alone with my crusty crap cannon.

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This article originally appeared on VICE US.

African Countries Are Using Trump's 'Shithole' Comments to Drive Tourism

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After President Trump reportedly called African nations, Haiti, and El Salvador "shithole countries" earlier this month, it made sense that folks from the places he snubbed were pissed off. But now some of those countries are using the slur to drive even more attention to themselves—as thriving tourism hubs.

Not only has Airbnb pledged $100,000 toward advertising listings in El Salvador, Haiti, and Africa thanks to "some expletive-filled interest," but tourism organizations in Zambia, Botswana, and Namibia (or "Nambia," as Trump calls it) are now marketing their countries as the loveliest, most irresistible shitholes on earth, the Wall Street Journal reports. Namibia's Gondwana Collection even hired a Trump impersonator to narrate a video all about the destination.

"We would like to invite you to come to shithole Namibia, one of the best shithole countries out there," the video boasts. "Not only is our country a shithole place—even our elephants are highly qualified to dump large amounts of shit everywhere in our wide-open shithole country."

A Zambian tourism agency got on board too, inviting would-be tourists to a place where "beautiful vistas and breathtaking wildlife are our trump card."

Botswana—which apparently had a little too much pride to fully embrace the shithole thing—went ahead and officially rebranded itself a "waterhole country," showing off all the lovely critters that call the nation home.

In addition to Africa, Haiti has gotten in on the action, too. Fabien Dodard—creative director of the ad agency Parkour Studio—is currently working on running a series of ads in Washington, DC, all about how much of a shithole his homeland is. He's raised more than $6,000 on GoFundme for his campaign to showcase "Haiti’s shitty landscape, totally shitty people, and year-round shitty weather."

It looks like Trump's "shithole" tirade might actually do some good after all—though the president's alleged comments certainly didn't do his own properties any favours.

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Related: Trump's Shithole Countries

This article originally appeared on VICE US.

'Nathan for You' Is a Perfect Indictment of Late Capitalism

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There has been a lot of talk these past few years of “Prestige Television.” Personally, I tend to scoff at this generally dumbshit term, which is all too often used interchangeably with “Expensive to Make Television” (looking at you, Westworld). But for one special show, I think the term applies—and that show is Nathan for You.

Now finished with its fourth season (and it's been renewed), Nathan for You is the most creative and intelligent comedy in years. If you haven’t seen it, what the fuck is wrong with you? The premise is as follows: Nathan graduated from business school with pretty OK grades and uses that knowledge to help business owners across America. His plans are always meandering and obtuse as hell, usually involving him downing a piping hot bowl of humiliation. The most mild of his schemes could still be justifiably called “batshit,” but there's a method to this young entrepreneur’s madness.

Nathan Fielder is a true entertainment treasure, his unbridled and unassuming genius continueing to amaze me season after season. He's the genuine goddamn article: Fielder's oddball nature isn’t affected in the least (check out these photos of Nathan from his high school days back in Canada), and even though the show's premise is fairly straightforward, his interpretation of it is anything but. After dozens of adventures in Fielder’s particular brand of bumbleshit marketing, he surprises me with a startling regularity.

In later seasons, Nathan occasionally checks in with people he has worked with on past episodes; he reconnected with local cabbie “Andy” in the fourth season to discuss their plot against rideshare giant Uber. It’s no secret that Uber has been devastating to the local taxi industries, and a few years ago Nathan had an idea: encourage women to give birth in cabs, thus giving free positive press to the cab drivers and their industry as a whole. But dastardly assholes that they are, Uber swooped in and stole the idea.

As the two reunite, they decide that the game must be escalated. What follows is a rather Rube-Goldbergian series of schemes that involve scuba-diving burner phone purchases, Uber driver sleeper cells, a sham marriage in a Chinese restaurant, and a shitload of Lou Bega’s “Mambo #5”. Of course in the end the plot fails to destroy Uber, a corporation notoriously run by mondo dickheads that increasingly forces its way into our lives on a daily basis. But that’s the point.

The underlying theme of all Nathan for You episodes is the futility of resisting corporate capitalism in American society. Episode after episode, Nathan concocts truly insane plots in his noble attempts to help struggling small business owners. Independent coffee shops, contractors, and restaurants all turn to him for his unique font of marketing magic. None of them actually see results from the stunts—and this is by design. Yes, the plans Nathan lays out are absurd, but their hyperbole highlights the greater point: There is no winning against the corporate giants. None. At the end of the taxi episode, it is revealed that Andy has given up, and become an Uber driver. Uber won.

And it doesn’t stop at Uber. Nathan helps a local electronics store take on Best Buy (yes, at least one alligator is involved). He gets sued by Starbucks for rebranding a shop at “Dumb Starbucks”—complete with Dumb Venti’s, Dumb Pumpkin Spice Lattes, and Dumb Sarah Barailles CDs. And who can forget the local froyo shop he convinces to offer a “poop” flavored option. If I can be honest, Nathan has a particular knack for not only finding small business owners who are willing to go along with his insanity, but really fucking weird people, personally. It’s honestly one of the highlights of the whole concept.

At one point in the taxi driver vs. Uber episode, Nathan sits down to talk with lifetime cabbies to discuss the effect the rideshare company has had on their lives. Flush with billions in venture capital, Uber has been able to undercut the drivers in the room to the point of desperation. They describe defaulted mortgages, fear for their livelihood, and fear for the future. Eventually Uber will jack its prices up to account for this spend, but by then the cabs will be long gone from our streets. Nathan for You is a riotously funny show, but these little scenes are a glimpse into a deeper message that runs throughout—one that is decidedly less laughable.

At the end of that same episode, Nathan closes with the words “The free hand of the market had spoken. The enemy wasn’t Uber, the enemy was progress.” He’s right. Progress can be great, but this kind of progress brought us to where we are: a nation of exurbs built around a central locus of big chain corporations. Where once was main street, now lies the Walmart parking lot. City blocks once strewn with family-owned businesses are a depressingly predictable spread: CVS. 7-11. So many big banks. Starbucks. Fuck, I hate it.

Nathan for You is not entirely against capitalism (it frames the small business owners as protagonists in each episode), but it is against our capitalism. The unrestrained conglomerated monster that seeks to fuck us all into submission. It speaks to those who feel deeply uneasy with our new corporate reality. It seeks to cope with this world through humor, but it still screams out in desperation with us all.

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This article originally appeared on VICE US.

The New Purge Teaser Features a Familiar Red Hat

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What's not to like about the Purge movies? They're glorious, over-the-top bloodbaths set in a dystopian future where America legalizes crime once a year so people can let off some steam.

The original Purge kept things pretty contained, centered around a rich guy and his family stuck inside their house during the night of mayhem. But the subsequent sequels built the world out and doubled down on the ham-handed political commentary about jingoism, and that's when the series really came into its own.

The franchise has never been exactly subtle about its message (2016's Election Year ran with the tagline "Keep America Great") but it seems like the next Purge movie is taking things to a whole new level. On Tuesday, Universal released a teaser trailer for The First Purge, and the thing takes a clear shot at Trump—complete with a familiar looking red hat sporting the film's title.

The new teaser starts off like a standard political ad, with a narrator talking over a slideshow of some patriotic imagery, before things take a sinister turn. "There's only one solution to keep our country great: a new tradition," the narrator says. "Participate today and nothing will make you prouder than when your boy looks up at you and says, 'Dad, I want to purge, too.'"

The First Purge is apparently going to be a prequel, telling the story of how the Purge first came to be, which makes sense seeing as how Election Year put an end to the annual murder spree once and for all. The First Purge is heading to theaters on July 4, naturally, unless America has voted to actually institute a Purge before then. Give the teaser trailer a watch above and marvel at how well it pairs with Tuesday's State of the Uniom.

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This article originally appeared on VICE US.

Let a 'Human Uber' Live Your Life So You Don't Have To

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The past few years have given us a vast array of technological advancements to help us completely avoid the horrors of human interaction. Tired of being forced to share a few words with the pizza guy, your Uber driver, or the kid who bags your groceries? Worry not, lifeless machines will spare you of all that. Done with dating? There are plenty of sex robots out there to appease your carnal needs, too. But now, finally, researchers have perfected a way for you to stay social without actually having to leave the comfort of your own home again—by having a surrogate strap on an iPad mask and venture out into the world for you.

Japanese researcher Jun Rekimoto presented his new tech, called ChameleonMask, at MIT Tech Review's EmTech this week, Select All reports. ChameleonMask has apparently been described as a "Human Uber," but it's really closer to a mobile FaceTime.

According to its website, the technology "uses a real human as a surrogate for another remote user," by giving the surrogate "a mask-shaped display that shows a remote user’s live face, and a voice channel transmits a remote user’s voice." Rekimoto reportedly described the experience of using ChameleonMask as "surprisingly natural," which does sound surprising.

Basically, it would work like this: Say your friend needs help moving, but you don't want to go lug boxes around all day. Just hire someone to do the moving for you while you beam your face onto a ChameleonMask from the comfort of your bed and offer words of encouragement. Or maybe your son has a baseball game that you can't quite make? Someone in a ChameleonMask will go sit in the stands so you can cheer him on remotely. ChameleonMask recommends getting a surrogate who has a similar body type. Sounds great, right?

It's unclear how exactly a surrogate is able to see, since the ChameleonMask appears to cover the whole head, but maybe eye holes will be coming in the next update.

The idea behind ChameleonMask isn't particularly new. Telepresence technologies of varying quality have been around for years, and, as Select All points out, the whole thing sounds inspired by Larry Middleman from Arrested Developmen. Still, you could be talking to a stranger wearing your friend's face at a party sometime soon. What a world!

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Related: Male Sex Bots

This article originally appeared on VICE US.

Trixie and Katya Explain How Religion Can Be Sexy

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On an all-new episode of VICELAND's THE TRIXIE & KATYA SHOW, two former RuPaul's Drag Race contestants dig into spirituality, tackling everything from the Ten Commandments to which of God's creatures gets the freakiest. Then they play a few rounds of "Hot or Holy," discovering that some religious garb is kind of sexy, when you really think about it.

THE TRIXIE & KATYA SHOW airs Wednesdays at 10:30 PM on VICELAND.

Then it's time for a new episode of SLUTEVER, following VICE's resident sexpert Karley Sciortino as she challenges outdated notions of female sexuality, gender, and love. Karley goes inside a dominatrix play session, discovering what really goes on with S&M couples behind closed doors.

SLUTEVER airs Wednesdays at 10 PM.

Want to know if you get VICELAND? Find out how to tune in here.

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This article originally appeared on VICE US.

How the Fake but Really Cool Computers in Movies Get Made

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In the Iron Man films and comics, we’ll often see super-genius Tony Stark furiously churning out lines of code to make sure his latest suit upgrade can fly on auto pilot, harness a deadly new source of power, or pair with Bluetooth speakers. What we never see, however, is Tony mulling over font options, window sizes, and all the other variables that go into designing a user interface (UI) that doesn’t suck.

In the real world, tech behemoths like Apple pour billions into UI development, tweaking countless iterations of text bubbles and screen sensitivity to the point of perfection. But for the creators of fictional UIs of the silver screen who are working with mere slivers of a Silicon Valley budget, the path to a believable, elegant UI design is trickier process. At best, the work of these artists goes by unnoticed, seamlessly propelling the story while maintaining the aesthetic of the universe. At worst, it pulls the audience out of the moment, leaving them to wonder why future humans are using papyrus to announce an airlock breach.

We spoke with Alan Torres, a design supervisor at LA-based VFX studio Cantina Creative, to see what sort of process goes into this under appreciated bit of cinematic artistry. While at Cantina, Torres has helped design the God’s Eye device in the latest Fast and the Furious, created a dystopian DNA database in Blade Runner 2049 and, yes, even put the display in Iron Man’s helmet.

This interview has been edited for clarity and length.

Iron Man suit diagnostics from Captain America: Civil War

VICE: Walk me through the process of developing a UI for a client, from conception to final product.
Alan Torres: For the creative process, we’ll usually be given the script to look over, or have a creative meeting with the producers, visual effects supervisors, the director.

Never the writer?
[Laughs] Unfortunately, not. That’s not Hollywood’s strongest suit. That’s a critical ingredient missing in these big movies, absolutely. They seem to be shooting and writing them at the same time.

So, we have those meetings. We’ll go over the sequences we need to work on and get their current understanding of what the story is and what the technology needs to do to advance the story. Then we go off on our way and come back with the most out of the box ideas first—things we know they probably won’t go for.

From Blade Runner 2049's morgue scene

Marvel movies are a good examples here because the design obviously leans on the story and the world that’s already been created and, in many ways, very fantastical and not always grounded. Tony Stark is an interesting character to design for because the suspension of disbelief is that he’s this genius who has the ability to create all this stuff, so we have all this creative freedom when designing for him.

We usually put together that initial presentation of things that we would want to see in the movie. We’ll meet again, in person or on a phone call, and [the client will] say “we like this” or “don’t like this,” and adjust from there. Eventually, it just become a molding design process, back and forth, with a lot of compromise. But, hopefully, it’s all for the betterment of the story.

Once they’re happy, we’ll start receiving plates or shots that these designs need to be composited into and animated to. We’ll begin doing the animation beats and sending those over, getting notes. That’s usually when the client's really nitpicky, because once they start seeing things in motion and the edit is further along, that’s when you start hearing, “Oh, yeah, make the text bigger, bigger, bigger, BIGGER!” Maybe that’s when they realize the writing isn’t so strong.

Do clients ever ask you to dial it back or is it always a push for bigger and bolder?
Not always. Blade Runner [2049] was a great example here. I'm used to anticipating those punches being thrown, but on that one, Denis [Villenueve] had such a strong vision in his mind that he knew big text like that wouldn’t exist in this world and had us scale down a bit as we workshopped ideas.

Another Blade Runner 2049 UI shot

Do you have any base-level templates that you can build these UIs on top of or do you start from scratch?
Both, actually. I try and give each project its own unique identity. However, Cantina does have a vast archive of design elements to reference and repurpose if the specific task requires it. The Marvel universe is a great example of being able to build upon the existing work. The cinematic zeitgeist is established, so our design process is more about refining around new creative challenges rather than building from scratch, generally speaking.

For Blade Runner, I was brought in later in production. Denis originally wanted me to come in and refresh everything that was “on set” and, in some case, completely redo it. As the edit got further along, some pieces from the “on set” just fit better. I was giving him a lot of different looks, and those just helped him steer the ship a bit better. [I made] mood boards to get [Villenueve’s] feel on the texture, smudginess, how delicately the light would emit through the screen. It’s a super bleak world and we’re seeing how the analogue tech fits in it. For him, it didn’t fit at first. It was still too digital. So that’s where we backed up to these older looking ones where there’s that printed grid, like old submarine UIs. He was really drawn to those. Still, about 80 percent of the stuff I sent him didn’t make it into the movie.

What fictional UIs do you draw inspiration from?
Blade Runner sort of spoke for itself. The original was enough for me to go off of. I love the original, so I was pretty familiar with the aesthetics of it all.

In terms of overall design inspiration, Oblivion is amazing. That’s a movie that’s still being copied today. What’s so fun about it is that everything is based off a grid. The guy who designed it, Bradley [G. Munkowitz], he goes by GMUNK, absolutely killed it. He’s super talented and admired.

The God's Eye device in The Fate of the Furious

In many of your projects, there’s a blue or green background color scheme that feels more representative of early computer operating systems than modern interfaces. Is that just the agreed upon “futuristic” palate?
It’s a studio thing. I think it’s a color that people identify with “high tech.” If it’s cyan, people think it must be technologically advanced, like Tron sets.

What are some other annoying or unrealistic elements in your work that don't make real-world sense, but the client pushes for anyway?
Big red “ALERT” text. I haven’t yet run across that in real life. That’s probably the most offensive note we can get: “Can you make the text size 100 and in red and bold?” Big text is so annoying because it just boils down to sloppy writing.

How has the overall design philosophy within your community adapted to the real world’s tech advancements, especially the somewhat recent fascination with interfaces that go beyond the traditional 2D screen?
As the real world starts to catch up and get more into AR and VR stuff, we’re finally starting to see some cool, subtle changes in movie UI. Some productions are getting a bit smarter and realizing maybe it’s better to not over-design. That’s not how it would be in reality so that mentality is finally starting to creep in.

It is a bit harder to design minimalist, though, because every line and dot needs to be there for a reason. And sometimes minimalist doesn’t look “expensive” enough in the eyes of the studio.

Her did a great job with this challenge, however, making the AI and programming surrounding it just a tool that fit perfectly within that world. Ideally, that’s how it should always be.

Have you ever been approached by anyone wanting to turn your fictional products into real ones? How would that work in terms of conversion and IP ownership?
The studios own the work we do for the movie, but the ideas can still be carried over. So, yes, people do come to us to try and create real world stuff. In their head, I think they saw something on a screen that worked because it serviced a story and go, “That was amazing. I need that in my helmet tomorrow.” But real-world design is a lot more challenging.

We do think of human psychology when we create these projects and consider where things need to be mapped and what makes sense in terms of visual hierarchy. But sometimes we just go “screw that, this is what the story needs.” In real life it’s the complete opposite and a lot harder to create a working product. Development takes years as opposed to weeks.

What sort of Easter eggs or inside jokes have you snuck into your work, if any? Is there a UI/VFX equivalent of the Wilhelm Scream?
Not really. People like to put in their birth dates or references to their loved ones. I never do it, not because it doesn’t sound fun. I think I just get too deep into the work to break from core creative ideas and do that.

Our team used to do that more a few years back. In Iron Man 3 [the studio] caught us and called us out a bit. A coworker put some lyrics in Tony Stark’s GACK and they just happened to pause on the right frame to catch it and read through it. It was just nonsense, but I think if it had some sort of comic book theme or joke to it they might’ve let it go but since it was just silly it got cut.

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18-Year-Old Man Shot in Head in Quebec Courtroom Fight

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A young man is in hospital after being shot in the head at a Quebec courthouse.

According to reports, the 18-year-old man was shot around 1 PM in the courthouse in Maniwaki—a small town about 300 kilometres north of Montreal.

In a press release, Quebec’s independent investigations bureau (BEI) said they are investigating the incident. The agency states that the young man got his hands on a “special constable’s” baton and allegedly hit him over the head with it. This is when the constable took his gun and shot the young man in the head.

A video first published to Facebook shows both the fight and the shooting. Warning, the below video is graphic.

The video shows the two scuffling as onlookers, including other guards, look on. While the officer has the young man in a headlock you can hear viewers say “that’s abuse of force, man.” Two other men come in and push the man through a door. From there the two men disappear but yelling and a loud thump can be heard.

It’s hard to tell what happens next. The young man has moved through the door and isn’t visible when a shot rings out. The video goes erratic and numerous people screaming can be heard.

The man who filmed and posted the video said that the young man who was shot is now in stable condition. “He was touched close to the eye... but he's going to be fine,” he wrote in French. However, the BEI press release states that the condition of both the constable and the young man is unknown.

Both the man shot and the shooter were transported to hospital.

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Black Lives Matter Cofounder Patrisse Khan-Cullors Is Only Getting Started

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At age 34, Patrisse Khan-Cullors is already a veteran activist. She started as a teenage member of the Los Angeles Bus Riders Union, a group devoted to improving access to public transportation. That niche-sounding cause belies a radical agenda—one of the group’s slogans is "1,000 more buses, 1,000 less police," and it successfully sued LA County in the 90s to block a fare increase on the grounds that it disproportionately harmed commuters of colour. Khan-Cullors is still deeply concerned with inequality, but what animates her work isn’t transportation, but systemic and state violence against black people.

Horrified by the mistreatment her brother endured in a Los Angeles county jail—including beatings, tasers, and choking—Khan-Cullors created the Coalition to End Sheriff Violence in 2011. The group brought together a community of people affected by prison violence and created a space where survivors could both heal and organize to fight for change. In 2016, it won a major victory when the LA County Board of Supervisors voted to created a civilian oversight commission to monitor the LA County Sheriff’s Department. By then, Khan-Cullors had risen to such prominence that activists cried foul when she wasn’t named to the commission.

Expanding on the work she began with the Coalition to End Sheriff Violence, Khan-Cullors founded Dignity and Power Now, an umbrella organization that combats state violence and the prison-industrial complex using art, research, resilience practices, and leadership training.

She's also an artist whose work blends performance, visual, audio, and dance techniques into chilling denunciations of state violence. A 2012 piece, STAINED, featured caution tape, a recording of Khan-Cullors reading letters between her mother and brother detailing the beatings he endured in prison, and performers acting out the mental strain of solitary confinement—they laughed, then cried hysterically before turning to paste an ACLU report filed in a lawsuit against the LA County Sheriff’s Department to the wall.

But she’s likely most famous for her founding role in Black Lives Matter. In the summer of 2013, Khan-Cullors took part in a Facebook conversation with Alicia Garza and Opal Tometi after George Zimmerman was acquitted in the death of Trayvon Martin. It was Khan-Cullors who first used #blacklivesmatter in a post; Tometi saw that hashtag and decided it should be the name for an organization that would advocate for the end of state violence and repression against black people. The three women have gone on to build Black Lives Matter into one of the most prominent activist organizations in the world, a group that has both inspired millions and become a lightning rod for Trumpian rage.

In her memoir When They Call You a Terrorist, released last month, Khan-Cullors writes with clarity and candor about the physical and psychological violence that she and her family have suffered at the hands of the government, and how these traumatic experiences sparked her activism. As Black Lives Matters moves into its fifth year as the defining civil rights organization in America, I sat with her to talk about #MeToo, the politics of personal responsibility, and the new urgency her work has taken on in the wake of the 2016 election.

VICE: Why did you decide to write a book?
Patrisse Khan-Cullors: I decided to write a book for a few reasons. First, we were in the middle of the last presidential election, and I started to see the way Black Lives Matter was being misconstrued by right-wing pundits and mislabeled as terrorist organization. I wanted to define who we are and what we stand for. And second, I really wanted to tell a coming-of-age story of a black queer women raised poor, and the impact state violence has had on my life. We often hear that story told from a black male perspective, but we rarely hear it told by and about black women.

"We live in a culture that wants to talk about individual first, that tells people they need to take personal responsibility for their hardships. Let’s not do that."

One of the most striking things I read in the book was how your pre-teenage brothers didn’t complain that it was unfair police had harassed and abused them for doing absolutely nothing. You write, “By the time they hit puberty, neither will my brothers have expected that things could be another way.” They internalized the devaluation of their lives at such a young age. Can you talk a bit about other ways in which young black children receive this message?
For many marginalized communities, we are told from birth that our lives are valueless. We are told that we don’t deserve things. That poverty is our fault. That our parents’ addictions and prison and inability to feed us is our fault. So if you internalize that, if you internalize the ways in which the world has literally shoved you out, then of course as you get older, you’re not going to believe in yourself. And that translates into not being able to do the things that are the most important and most healthy. We have to talk about changing systems first. We live in a culture that wants to talk about individual first, that tells people they need to take personal responsibility for their hardships. Let’s not do that. Let’s change the system that creates the hardships. That’s the work of Black Lives Matter, that’s the work of #MeToo, #TimesUp, the Women’s March, so many other important organizations that have come together in the past few years.



The silence surrounding rape and sexual assault and the silence surrounding state violence against black people and communities seems like it is at least partially beginning to lift.
When we talk about harm and violence enacted by very powerful people and entrenched within the government, it’s a different type of conversation we need to be having around accountability. What we’re seeing with #MeToo is not just survivors telling their stories, but a reckoning with how entrenched sexual violence and harm is in every industry. And what we’ve started to see with Black Lives Matter and the recording and dissemination of videos of police violence is that no police department has emerged unscathed. The argument that this kind of abuse is only reflective of a few incidents or a few bad actors is no longer valid. There’s this pervasiveness of physical, lethal, and sexual harm in our culture, and survivors who have been impacted by it are leading an awakening in our country around its prevalence.

In the best-case scenario, what do you think happens after the awakening?
The best-case scenario would be putting infrastructure in place so these kinds of abuses don’t happen again. We’re starting to see that with #MeToo. It’s more difficult with Black Lives Matter because we are trying to hold the state itself accountable, and state has been in power for 500 years. Our work is to create the infrastructure so we can fight back against these abuses, now that there is greater awareness around them, and win.

You also mention personal responsibility in the book in the context of Alcoholics Anonymous, and their emphasis on personal responsibility over structural inequities. What do you think makes Americans so susceptible to the politics of personal responsibility? Why do we want to believe our failings are ours alone?
That’s socialization and culture. You don’t have to tell someone how to behave, we witness what is acceptable and what is not. And then laws are just the things that come out a culture, out of what our culture says is acceptable. So what I want to change is the culture, rather than focusing on legislation. We want to disrupt, to create a new sense of how to fight, and the culture around doing that.

I was so struck by your insistence on the importance of self-care in your work. You say early on in the book that you had to learn to “make your own gentle” in a world that often treated you brutally. Why is self-care so integral in your work?
Over the years I have been told to go take care of myself when I was experiencing anxiety or depression, to go do something and come back when I was better. And so what I want to do is create space inside of the movement to foster resilience and for people to take care of themselves. Our movement shouldn’t make us feel disposable.

Do you feel like the media’s approach to covering racial injustice and Black Lives Matter has changed over the past few years?
It’s been forced to change. Traditional media has been forced to contend with smaller outlets doing things better, especially with social media, which allows for organic, decentralized, and global stories to go viral. Traditional media has had to adapt to all of these new realities.

What was it like for you, having poured so much of your life into this work and this movement, to see Trump elected? Does doing this work feel different now than it did before the election?
There is a particular clarity of urgency to continue to do the work, yes. Especially in understanding the role of strong movement can play in electoral politics. A powerful movement is one that can hold officials accountable. For example, look at the ways the right has been able to galvanize and show up for their base. 45’s words aren’t just rhetoric, he is putting his words into action. We need to hold our leaders accountable. Black people have been failed by Democratic Party leadership time and again, and what we need now is new leadership.

How do you go about finding new leaders?
You start locally. Nothing changes from the top down, it always changes from the bottom up, and the same will be true with finding and cultivating new leaders. It’s easy to feel distracted by the federal government, by 45, but he’s going to do what he’s going to do. Look instead at what’s been possible on a more decentralized scale and what’s been possible state by state, from the legalization of marriage to the legalization of marijuana.

"If we’re treating each other terribly, and saying terrible things about each other online, it doesn’t get us where we need to be."

In the book, you talk about “living your whole life under surveillance, your life as the bullseye.” Can you talk about the post-traumatic stress that comes from living under these kinds of conditions for a protracted period of time?
Most populations living under governments that use violence and bullying and harm as punishment against them are suffering from some form of PTSD. We don’t take emotional responses or the idea of trauma very seriously in American culture, and so part our work is to try and explain why taking trauma seriously is so important to saving humanity, and how the journey in getting to freedom is just as important as freedom. We can’t be engaging in the kind of behavior that traumatizes others because we’re traumatized. So if we’re treating each other terribly, and saying terrible things about each other online, it doesn’t get us where we need to be. And that’s our own trauma responses to a system that perpetuates the type of harm and dragging down that we do to one another. So what I’m really interested in is resilience-based responses to trauma, and to that environment.

Are there any of those kinds of responses that you think have been particularly successful, or that would be?
There is a local organization I started, Dignity and Power Now, that does work around people who have survived trauma and state violence. The organization runs a monthly healing clinic with therapists, nurses, and medics for folks who have been impacted by jail violence. It’s a powerful space. During the summer, they hold the clinic right in front of the jails.

A collective in New York, Harriet’s Apothecary, does something similar with these huge wellness clinics and healing spaces that are open to the public.

And finally, if we are really going to have this honest conversation on how and what this country owes black people, I feel very strongly that every black person should receive a therapist as part of any reparations package.

This story is a part of VICE's effort to highlight the contributions of black women around the globe who are making a difference. To read more stories about strong black women making history today, go here.

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This article originally appeared on VICE US.

Paul Thomas Anderson on Perfectionism and Making 'Phantom Thread'

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Consider this: Joaquin Phoenix humping a sandcastle in The Master. Or this: frogs falling from the sky in Magnolia. Or perhaps, cast your mind over Marky Mark’s 13-inch fake schlong in Boogie Nights. You never know what Paul Thomas Anderson is going to do next. You only know that the images he creates will be forever carved into your brain.

I had no idea what to expect from Phantom Thread, Anderson’s new movie about a dressmaker in 1950s London. The trailer made it look like a sniffy BBC costume drama your parents might watch on Sunday night, all perfect postures and drab colours.

This was all the more surprising because his last film, Inherent Vice, was a stoner comedy set in 1970s LA. He’s said before that he’d hate to repeat himself – "I don’t wanna go back, that would be fucking horrible – which helps explain his leap from offbeat rom-com Punch-Drunk Love to There Will Be Blood and everything since.

In Phantom Thread’s twisted tale of a fucked-up relationship, Day-Lewis plays a dapper dressmaker called Reynolds Woodcock. He’s a complete control freak, as particular about the stitches on his dresses as his elaborate breakfast orders. Naturally, he’s not so great in relationships. He starts seeing a Belgian waitress who becomes his model and muse. One morning, in full controlling-dickhead mode, Woodcock snaps at the girl for buttering her toast too loudly: "I can’t begin my day with a confrontation."

If that sounds like a dreary drama about an impossible misogynist, believe me, it’s not. There are heaps of hilarious outbursts from Woodcock, and lines you’d never hear in a more hoity-toity drama. Take Woodcock’s offence at the word "chic". "Chic! Whoever invented that ought to be spanked in public. I don't even know what that word means! What is that word? Fucking chic!" The movie is punctuated by these eruptions. It’s intense and unpredictable, like a grenade thrown towards the conformity of British cinema.

When I sit down with Anderson in a hotel in central London, I ask him about this latest sharp turn. His eyes widen the moment I mention the word "risk". "Yeah. You're challenging yourself [as a filmmaker], mixing it up," he explains. But why this story? Why London's couture world of the 1950s? It all began when Anderson started reading about fashion designers from that era, like Balenciaga and Dior. "They were super obsessive personalities," he says, "super controlling, completely preoccupied with their work." This is Day-Lewis’s character in a nutshell.

You wonder how anyone could date someone that controlling. I ask Anderson if he was interested in how someone with such faulty emotional wiring can sustain a relationship. "No. What was more interesting was when somebody is that controlling of their life, and what happens when something is out of their control – like an illness comes along – and what it does to them, and what does this weakness reveal in them? What Woodcock is really after is somebody to punch him in the face."

I’m curious about possible parallels between Anderson and Woodcock. Can the filmmaker see himself in the dressmaker? "At a certain point my attention span runs out, I’m kind of a little bit impatient. I don’t exactly have the temperament." So the charge of "control freak" is a fair one? "Oh, for sure, but on a scale of 1 to 10 I’m probably hovering somewhere around 5. On an occasional day a proper 10. I mean, nobody likes it when a director doesn’t make decisions. There have been a couple of times where I’ve tried that and everybody gets really irritated. They’re like, 'Right, just fucking tell us what you like, because I don’t wanna have to guess.'"

I bring up the fact that there’s a slew of film nerds on YouTube who pore over his signature style, dissecting everything from his trademark whip-pans to his frames within frames. Again, "meticulous" comes to mind. I ask him if he’s conscious of his signature. "It has to come from whatever the story is," he says. "With There Will Be Blood you could have an epicness, because you’re outside and you’re following this large-scale story." Whereas the camerawork in Phantom Thread – which Anderson had a hand in – is more subtle. What happened to his beloved whip-pans, dolly shots, and high-wire visuals? "There’s physically no room to whip the camera around," he explains. "You’re shooting in a Georgian townhouse. So unless you want to start doing horseshit crane shots up through the floor and stuff like that, then the style comes out of the story and the characters."

This story’s setting couldn’t be more different, I agree, but Day-Lewis’s dressmaker does share some DNA with other Anderson characters. Not least There Will Be Blood’s Daniel Plainview, the actor’s other monomaniac male in pursuit of perfection. Both are flawed males, both the very picture of toxic masculinity. Sure, they’re not quite in the same league as Magnolia’s Frank TJ Mackey (“Respect the cock! And tame the cunt!”), but their masculinity is clearly insidious in relation to those around them. What draws Anderson to these antiheroes? "They’re funny usually. That kind of lends itself to humour, when somebody is like that."

Anderson talks about Day-Lewis on set as if he didn’t meet the actor, but rather Reynolds Woodcock. Was it different to the experience of working with him on There Will Be Blood? "Well, it’s the difference between working with Daniel Plainview and working with Reynolds Woodcock," he says, again as if the actor was in character 24/7 (something he’s famous for). "Plainview is a little bit easier to hang out with; he just wanted to get what was in the ground out; Reynolds is really obsessed with his wallpaper and chairs and things like that."

Paul Thomas Anderson. Image: VICE

During the Boogie Nights-era, Anderson would eat pizza in interviews and talk non-stop about movies like he’d drunk ten cups of coffee. Talking to him now, at 47, he’s more reserved, with grey hair and four kids. But he still oozes that fresh-out-of-film-school hunger to knock you sideways in the cinema. He still can’t wait to dive headfirst into something totally different.

And the films themselves? His recent ones have been the most divisive of his career. The Master was a two-and-a-half-hour film loosely based on the early days of Scientology that Entertainment Weekly, in an article entitled Why I Fell Out Of Love With Paul Thomas Anderson, said "lacks a character we care about". Then there was Inherent Vice, an adaptation of the notoriously hard-to-adapt author Thomas Pynchon, that reportedly got walkouts because of its freewheeling narrative.

I loved those movies for their zero-fucks attitude to plot. If anything, my early apprehension about Phantom Thread was that it seemed like safe subject matter. I mean: to go from the sleazy setting of the porn industry, or the potheads of 70s Venice Beach, to this? A film set in polite society?

But here’s the thing: it’s easy to label Phantom Thread as the work of a more "mature" filmmaker, with the glory days of caffeinated whip-pans and coke-fuelled narratives behind him. To be sure, the film's style is more laid-back, the camerawork less energetic. Could it be that the former enfant terrible is slowing down? Speaking to him, I don't get that impression at all. It's not because he’s older and more reserved now, but because, he tells me, this story and this style just happened to be "getting me off" at that time. In other words, his taste is always changing.

I wonder what’s getting him off now. "It’d be nice to do something a bit more fidgety again, I suppose. No more English drawing rooms for me for a while," he laughs.

While English drawing rooms might be old hat, it would be great to see Anderson turn his head to the seedier side of Britain. I’d love to see him, say, make a "kitchen sink" movie in London, again putting the genre’s tired tropes through the PTA blender. And as if reading my mind as I’m leaving, he says: "I did have an idea the other day of wanting to do something in London again, because I really enjoyed my time here and I feel like there’s still more to do."

@OliverLunn

This article originally appeared on VICE UK.

We Asked Margot Robbie About Her Greatest Role: Donna From 'Neighbours'

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It’s a great time to be Margot Robbie. The proudly Australian actress is enjoying a career high, with her performance as disgraced figure skater Tonya Harding in I, Tonya earning her an Oscar nomination for best actress—along with Golden Globe, SAG, and BAFTA nods.

For Tonya Harding, the film marks the culmination of her public image rehabilitation—some 24 years after she fell from grace in the wake of revelations she was involved with the kneecapping of her rival skater Nancy Kerrigan. The 1994 attack was orchestrated by Harding's ex-husband, but she also received a lifetime ban from ice skating.

Robbie’s sympathetic, class-conscious portrayal of Harding manages to infuse emotional complexity into this tragic American figure—now considered by some a working class antiheroine and gay icon.

When VICE met with Margot in Sydney, she'd just gotten word of her Oscar nomination. Which is amazing. But we wanted to ask her about her most iconic role: Donna Freeman from Neighbours. We've loved Margot since she made Australia lose its collective shit over Donna's kiss with the misunderstood Sunny Lee. If performances on Australian soaps were eligible for the Academy Awards, this honour would've come a long time ago.

VICE: Hi Margot, great to meet you! Obviously this is an incredible time for your career, congratulations on your Oscar nomination and getting to celebrate on home ground.
Margot: Thanks!

I’ve been a huge fan for a while of your acclaimed performances of controversial and complicated women. But I’d actually like to start off by asking about my first favourite role of yours: the iconic bisexual stalker Donna from Neighbours.
[Laughs]

Do you think there are similarities between Donna and Tonya?
I think the first similarity I’d find is that their both very unapologetically themselves, and I love that about both of them. I love characters who say what their thinking, because I think in real life I so often can’t do that. It's kind of liberating to be on set and just have no filter.

I heard you begged the writers for a big dramatic death for Donna. Do you think her “happy ending” move to America worked out as well as yours did?
It’s funny that she moved to New York to pursue her passion, and I also found myself in New York working on a TV show pursuing my passion. So yeah, Donna and I kinda had the same happy ending!

Would you rather date Toadie from Neighbours or Jeff, Tonya Harding’s ex-husband?
Ohh! Well, I mean, since I know Ryan Moloney and know that he’s a great guy—and I think Toadie is also a great guy—I think he’d be the pick. Plus, if I married Toadie then I’d get to live in Australia instead of Portland. Portland is awesome but I would love to be living at home.

What are the differences between your time on the Neighbours set and your experience of working in Hollywood?
It’s very different. Neighbours was the best training ground ever but more than that it was the best kind of family atmosphere because you all have one green room. You're all in it together, there’s like 30 cast members and your together all the time. Day-in, day-out. Then I got to America and everyone's segregated into different trailers or dressing rooms or whatever and it’s really lonely. I felt like I was never alone on Neighbours. I was always with everyone and I loved it. There really didn’t feel like there was a segregation between cast and crew, we all hung out. You know, you’d get a cup of tea for that crew member, they would get you one. It was never like someone getting your omelette order or something like that. It was a family and I loved it. I loved it.

Does being nominated for an Oscar make amends for losing Most Popular Actress at the Logies?
Oh, absolutely. Yeah I still would have loved a Logie but honestly, it’s been... actually I have to say the Logies are probably the funnest awards to go too. They are so much fun.

Yeah, I’ve heard they are wild.
They are wild! And it’s not actually as fun going to the Oscars. It is a great honour to go to the Oscars, of course! But the Logies are fun.

The anecdote that you didn’t know that Tonya Harding’s life story was real has quickly become legendary.
Yeah!

Was it more or less believable than some of the Neighbours plotlines?
It was equally as unbelievable as some of the Neighbours plotlines. Yeah, sometimes real life is just crazier than what we depict on screen. Although we did depict some crazy stuff on screen on Neighbours—considering the time slot and rating we had. I think we were pretty out there with some things.

I, Tonya is the first big success for your production company. Why was it important for you to produce your own work?
Well, we have the company because we want to promote females in the industry, whether it’s through female characters, filmmakers, directors or editors. Our female editor just got an Oscar nod for I, Tonya... it’s important that we keep moving forward in trying to find 50/50, find equality. It’s just really unbalanced at the moment.

Yes, it’s certainly time. You’ve come so far since Ramsay Street. What’s the next challenge you want to tackle as an artist?
I mean we kind of have our hands full with producing. I feel like this producing venture has turned out really well, we have a lot of other projects on our slate that I really hope we can also do justice. So I guess to have those projects get greenlit, get made, and be received the way we want them to be received. That would be incredible. And then, in couple of years, I’d love to try directing.

Wow! Donna would be proud.

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This article originally appeared on VICE AU.

Camgirls Tell Us About the Weirdest Requests They’ve Gotten

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An advantage the camming industry has provided porn consumers is the ability to put in special requests and customize their fapping experiences. While cam models can set their own goals they want to hit in sessions on live-streaming sites, they also have the option of taking requests from clients, whether it be for a private show or a pre-recorded video.

Since the range of human sexuality is unimaginably vast, we reached out to cam models to ask them about the most stand-out requests they’ve gotten over the course of their careers.

“I usually never want to make a guy feel weird about his fetish,” Avery Saunders, who’s been camming for over six years, told VICE. ”I’ll say what I can do and then state what I’m comfortable with doing.”

I think we can all agree that kink-shaming is a bad thing to do, but please think of the following examples of interesting requests cam models have gotten as a celebration of just how varied our sexual fetishes can be:

“Weirdest thing I’ve been asked to do is virtually ‘change’ a man’s dirty diaper. I’m still not sure how it would have worked logistically… I’ve also been asked to bottle my cum into a very specific Tupperware. I did fulfill the Tupperware request, took days. The diaper gentleman was willing to offer me the equivalent to $20 for a half-hour Skype.... I obviously declined.” —Ryland Baby, camming for two years

“I get requests from people to put on clothing, so I have a tip for that in my menu. I have also had people tip me to dump all liquids in my fridge all over my body (sploshing fetish), which amusingly resulted in a show I do for special occasions because it was so fun.” o0Pepper0o, camming for over five years

Screenshot submitted

“Vomiting during deep throat on a dildo, farts, and a guy asking for child pics of me. A guy wanted me to get a box of kittens to yell at them and then strip.

Lots of race stuff too: Some men will request I dress up like the typical hood girl like big hoop earrings, red lipstick, and talk a certain way to them give them attitude. Some guys will just ask that you agree and then say stuff like ‘You’re a beautiful black goddess I’m your white peasant, right?!’ Also the other way around, some guys will say stuff like, ‘I want to make you my slave, I’ll be your master.’

I’ve had guys want me to mail them dirty panties or bodily fluids in a small jar. One guy liked if I wore a heavy coat.” Avery Saunders

“It's hard to decide what's weird anymore. After doing this for so long, crazy fetishes are kind of the norm. But there are a few that stand out: My favourite was a client that wanted me to pretend to be a zombie—drooling, walking with my hands out and limp wrists, moaning ‘braiiinssss.’ That was a ton of fun.

Another was a guy that wanted me to role-play as his pet tiger, and ‘shit on the floor while looking fiercely into the camera.’ That one I declined. Another request I get pretty frequently is to shave my head or parts of it, which has always struck me as strange. I haven't been offered enough money to do it yet though.” Dahlia Dee, camming for over six years

“In no particular order:

  • In a girl-guy-girl show we had a request, of all the available possibilities, for us two girls to leave and let the guy jack off
  • Food, specifically sausages or hotdogs. [He wanted me to] have sex with it, use like a dildo without a condom. He kept asking me to take the condom off, but no way! He obviously didn't understand feminine PH and its delicacy.
  • Walk around outside first and get the bottoms of my feet dirty
  • Smoke cigarette and ignore
  • Balloon friendship: not popping them… petting, doting, and saving them from being popped at parties
  • Sneezing and nose-blowing
  • Farting into the cam, making sure to get close to cam so they could see the opening, and shrinking of bum hole during

These are beyond my limits: wanting their diapers changed, or wanting you to wear one and fill it. Those are at the top of My ‘weird’ and ‘fuck no’ lists."

Alissa Black, camming for almost ten years

“The strangest request I ever got was to balance a high-heel shoe on my head for 30 seconds. He paid half upfront, and half after I did it. He only wanted 30 seconds, but I lasted two minutes. I probably charged like 200 tokens ($20 to him and $10 to me). It was a fun-spirited day, so I just went with the weirdness.” Melody Kush, camming full-time for five and a half years

“I’ve gotten some weird requests for private shows and clips, like putting cheese slices all over myself and laying still. I think they wanted orange-coloured cheese like cheddar, which i happened to have! To this day I’m not sure why… [Also] rubbing cake all over my body and dancing.

Food requests are pretty rare, but when I do get them, they’re very specific and detailed. You can tell that the people who request it know what they want to see and probably can’t find it anywhere else. More often, I get clothing related requests like just modeling clothes or trying on shoes while they get off.” Jane Wilde, camming for one year, four months

Interviews have been edited for length and clarity.

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Desus and Mero Talk About That Peacock Who Tried to Get on a Flight

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United Airlines often makes headlines for its various scandals throughout the years, but its most recent controversy is its most perplexing yet. The airline recently refused to let a peacock board a flight out of Newark after a passenger tried to bring the bird on as her emotional support animal.

It didn't take long before the scandal hit various local news outlets, but VICE delved a little deeper into the bizarre story. Apparently, the peacock's name is Dexter, and his owner is a Bushwick-based performance artist who's now driving the bird cross-country to LA. Oh, and the bird has a fire Instagram account.

On the latest episode of Desus & Mero, the hosts stalked Dexter's IG and talked about the bird's colorful owner.

You can watch the latest episode of Desus & Mero for free online now.

This article originally appeared on VICE US.

History Isn’t Diminished By Tearing Down Statues

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Yesterday, Halifax took down its statue of Edward Cornwallis following a last-minute motion by the regional council. After a vote of 12-4, the city immediately removed the statue of its founder and placed it in storage.

Cornwallis was a British army officer who established the settlement of Halifax in 1749. This was the first part of an effort to secure English military influence in Nova Scotia. The Acadian colony had been ceded by the French following the Treaty of Utrecht in 1713, but its predominantly Catholic, French and Mi’kmaq population meant it remained effectively outside British control. Establishing a large English settlement and military garrison was meant to bring things in order with the Crown’s designs for North America.

The Mi’kmaq, meanwhile, viewed the unilateral founding of Halifax as a violation of an earlier peace treaty they and the Maliseet had signed with the British in 1725. Cornwallis’ arrival and sudden spate of fort-building triggered more than ten years of guerilla warfare between the Mi’kmaq and their Acadian allies against the English settlers. As part of the war effort, Cornwallis issued a bounty on Mi’kmaq scalps, promising 10 guineas apiece. The English won the war in 1755, signed peace and friendship treaties with the Mi’kmaq in 1761, and deported more than 11,000 Acadians.

Cornwallis left Nova Scotia in 1752. His statue was erected in Cornwallis Square in 1931 as part of a tourism scheme by the Canadian National Railway.

Cornwallis’ statue has been a local controversy since at least the 1980s. It came to national prominence over the last few years as both Canada and the United States have grappled with how to commemorate their problematic pasts. Most Canadians from outside Nova Scotia are probably most familiar with the statue thanks to a Mi’kmaq mourning ceremony hosted at the site on July 1, 2017. A vigil for missing and murdered Indigenous women was interrupted by five members of the Canadian Forces who were also self-identified “Proud Boys,” a fraternal order of racist ska enthusiasts dedicated to preserving the sanctity of Western Civilization by refusing to crank their hogs. Regrettably, the soldier’s restless vigilance over their own seminal fluid did not avert this week’s council vote.

As in most things, the statue debate in this country played out like a G-rated overdub of the same process in America. There, statues praising the heroes of Confederate slave power had to be dismantled in the dead of night while neo-Nazis marched by torchlight in the streets. Things have been somewhat tamer here. For the most part, civic commemorations of Canada’s imperial heroes have instead been flashpoints for dialogue about reconciliation between settlers and Indigenous peoples. In the wake of Canada 150, a number of schools and federal buildings have had their names changed in the interest of finding a public image that doesn’t immediately evoke the triumph of British Canada’s warm and fuzzy brand of colonialism. (Langevin Block, we hardly knew ye.)

Everytime this issue comes up, regardless of the place or imperial relic in question, there is an immediate objection among many pundits that to tamper with statues or building names or whatever is emphatically Bad. It’s Political Correctness run amok, an infantile outburst over the fact that people from History weren’t as fully woke as a BA in Tumblr demands. The path we travel down is dangerous; something valuable will be lost. Present and future generations will lose one more link in the fragile chain of civic memory that binds us together as a community of citizens. It is better to leave up these historical markers, with all their problematic warts and all, so that this kind of critical conversation never dies, and so that we can appreciate influential people like Edward Cornwallis in their full historical context.

Well and good! We should love nothing more than to see a surfeit of richly contextualized and engaging public history. Halifax regional councillor Lisa Blackburn phrased it as well as anyone when she said that “statues are not how we record history. Statues are how we glorify history.” You will get a much better return on investment with a series of informational placards than a heroic sculpture of an English imperialist keeping his lonely watch over a multicultural metropolis. The statue is an obvious obstacle to reconciliation—even the half-assed sort of symbolic ‘reconciliation’ that this country’s settler governments have so far mustered up. Removing Cornwallis is less an effort to efface history than to make sure that the public spaces of Halifax reflect the history of the Halifax public, and not just the Old Stock imperialists.

Besides: there are lots of things you can do with the statue that will still allow Cornwallis his afterlife of teaching people about Canadian history. It can go to the Canadian War Museum as part of a collection on the Anglo-Indian colonial wars. Better yet, ship him to the Canadian Museum of History. They can put him in the First People’s Hall next to a copy of the Indian Act or that drawing of the last Beothuk. The US turned the hotel where Martin Luther King Jr. was assassinated into their Civil Rights Museum; the possibilities for old Cornwallis are endless.

The statue coming down is long overdue. This country’s historical consciousness of itself—such as it is—will be in no way diminished because Edward Cornwallis no longer stands on a pedestal in the square bearing his name. Anyone genuinely worried about his legacy in the city he founded can take comfort in the fact that Halifax still stands, two and a half centuries later, and was able to peacefully hold a referendum on a hotly contested piece of its own political history.

I dunno man. That sounds like a much more rewarding legacy than some obnoxious statue.


Sex, Death and Social Media at the Annual Porn Awards

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Sometime after the talking-head segment on how to make an award-winning anal scene, but before the stage invasion that led Lil Wayne to declare he'd "died and gone to heaven", this year the AVN Awards – known as the "Oscars of porn" – spent a few minutes facing the reality and finality of death.

The ceremony, which was held on Saturday night at the Hard Rock Casino in Las Vegas, is not usually an arena which grapples with mortality. This time was different. When Greg Lansky, the creator of adult studios Tushy, Vixen and Blacked Studios, collected his Director of the Year award, he said only a quick thank you before inviting the producer Kevin Moore to speak in his place. Moore’s wife, the porn star August Ames, took her own life on the 5th of December last year at the age of 23.

"I’m uncomfortable being up here," said Moore, a producer for the studio Evil Angel. "I’m uncomfortable with the applauds because, quite frankly, I don’t deserve them. I failed her. I failed her family. And I’ve got to live with that. But failure is no longer an option. There can never be another AVN Awards show that has a memorial full of young women ever again."

Moore was referring not just to his wife, but also to Shyla Stylez, Olivia Nova and Yurizan Beltran, who each died within the last three months. When a fifth young woman, 23-year-old Olivia Lua, died in rehab on the 18th of January, Moore tweeted: "This has become a crisis."

Moore used his speech to announce the launch of The August Project, in memory of his wife, which he said will be a "support system tailored for the performers in this industry". He also hit back at those who had criticised his wife online, receiving a standing ovation from many in the audience when he said: "It’s your body. It’s your choice. No agent, no producer, no company, and certainly not social media, decides what you do with your body."

Many have implicated social media in Ames' death. On the 3rd of December she had become the victim of widespread cyber-bullying after tweeting: "Whichever (lady) performer is replacing me tomorrow for @EroticaXNews, you're shooting with a guy who has shot gay porn, just to let cha know. BS is all I can say… Do agents really not care about who they're representing?... I do my homework for my body."

This tweet opened up a wound within the industry. On one side were those who believe performers should always have an absolute say over who they have sex with. On the other side were those who believe Ames' position – that men who also have sex with men are a "higher risk" for HIV and other STIs when compared to men who only shoot straight porn – perpetuates a homophobic myth about gay men.

The angry responses to her tweet came from both inside and outside the industry.

In a blog posted less than a week after Ames' death, Moore wrote: "I write this to make it crystal clear: Bullying took her life." He went on to single out two individuals. The most high-profile was the porn star Jessica Drake, who had tweeted in support of her LGBTQ co-stars: "performers, by all means, fuck who you want to fuck... but if you're eliminating folks based on the fact they may have done gay or crossover work, your logic is seriously flawed."

Moore also named Jaxton Wheeler, a performer who identifies as pansexual, who had tweeted at Ames on the 5th of December: "The world is awaiting your apology or for you to swallow a cyanide pill. Either or we'll take it." Unbeknownst to Wheeler, by that point August was likely already dead. She sent her last tweet at exactly midnight on the 4th of December, writing simply: "fuck y’all".


WATCH:


While there is no clear link between the five recent deaths – some were suicides, some were drug-related, some are yet to have a cause of death confirmed – their proximity has raised serious questions for the industry about whether it is living up to its duty of care for its young and vulnerable female performers.

Yet, aside from Moore’s speech, the AVN Awards continued with business as usual. Markus Dupree won Male Performer of the Year before launching into an entertaining if rambling victory speech, while Female Performer of the Year Angela White was the night’s big success story, taking home 14 awards.

The AVN Awards come at the climax of the four-day AVN Adult Entertainment Expo, a trade show which is roughly equivalent to a live-action version of being stuck in a pop-up porn ad loop, and which involves so much inter-performer commingling that many people go home with what some have coined "AVN flu". Highlights of this year’s event included Alana Evans – who’s recently been in the headlines for saying she turned down a threesome with Donald Trump and Stormy Daniels – kicking a man dressed as the President of the United States in the groin in front of the Cams.com booth. "I'm sure a lot of people want to see Donald kicked in the balls," Evans told me afterwards, laughing, "so they just got to live through my feet."

Beneath all the hedonistic excess, though, there was another current flowing. August Ames tribute T-shirts, 1,000 of which were paid for and distributed by Moore, were worn widely during the week by fans and performers alike. Some bore the slogan "Never Forget", while others read, in reference to her last tweet: "Fuck Y’all".

Tasha Reign. Photo: iWantEmpire

In private conversations, many performers expressed concern about the damaging effect that needing to be prominent on social media in order to maintain their fan following was having on their mental health. In the wake of the recent deaths, Tasha Reign – a porn star who has worked in the industry for eight years and is the Chairperson of the Adult Performer Advocacy Committee – told me she felt a "heavy shadow already over our industry. Around my co-workers there’s a solemn, sad feeling."

Reign explained that performers in the industry – particularly female performers – often feel "alone and othered" because of the abuse they face both on social media and when trying to access ordinary services like banks, housing and healthcare. "It doesn’t matter whether you’re a street walker, or an escort, or a person who makes legal adult pornography on film, the way that the world and America specifically treats us is horrific," she says. "You can say horrible things about 'whores' and these 'disgusting pieces of scum' that are porn stars. No other group of people would society allow for that to occur, but for some fucked-up reason it happens in our business."

Reign supports the idea of introducing a mandatory introductory programme for young women coming into the industry, and raising the age of entry from 18 to 21, but acknowledges that it can be difficult to know how anyone will respond to the stigma attached to their profession. "I don’t know how to tell the young girls who contact me over email that yes, I love my job, and I like what I do, and it’s a huge part of my identity, but no I don’t recommend that you do it because I don’t know about your mental stability," she said.

Mike Stabile from the Free Speech Coalition agrees that discrimination is a major factor in adult performers not accessing healthcare, and suggests that the situation is analogous to the one often faced by LGBTQ people during the last century. "If you went to a mental health professional and said: 'I’m really struggling with depression,' they’d say: 'Well, it’s because you’re gay, and until you fix that sickness we’re not going to do anything else,'" he said. "When you talk to sex workers, that’s the struggle they face when trying to talk about depression, or addiction issues, or even a broken leg. The doctor says, 'There’s no way you could be happy in this profession.' I think that dissuades people from seeking help."

Vixen models wearing commemorative August Ames T-shirts. Photo: Vixen

Kevin Moore has said that he hopes to use The August Project to open up access to mental healthcare for adult performers, telling the AVN audience that it will be "a resource, so if any of you find yourself on the edge of a cliff, help is a phone call away".

That is a specific issue for the industry, but there is also a broader one which implicates all of us. The porn industry is a carnival mirror, exaggerating our features but also reflecting us back to ourselves at our most – literally and metaphorically – naked. The bullying of female performers, the rush to publicly shame them and the mental damage they sustain attempting to maintain a flawless social media facade is likewise a warped reflection of the dangers lurking in the wider online world, particularly for women.

"I think everyone on their social media wants to look like they’re successful, beautiful and having a good time in life," the porn star Riley Reyes told me in the lounge behind the Expo’s iWantEmpire booth. "Everyone curates their social media to make themselves appear as happy as possible, and I think in this industry, where we’re curating not just for our peers but also for our fans, there’s additional pressure to make everything look perfect."

She continued: "One of the only positive things that has come out of these recent tragic events is that people are opening up more about their mental health struggles, and being able to admit in front of their peers and their fans that their lives are not perfect. Everyone needs support sometimes, because no one's life is perfect."

@KevinEGPerry

This article originally appeared on VICE UK.

A Trucker Went Off-Roading on the 2,000-Year-Old Nazca Lines

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It took about 1,000 years for an ancient Peruvian civilization to finish the Nazca Lines, miles of lines etched into the desert depicting plant and animal life, and we're still studying the drawings two millennia later. But it only took a confused trucker about an hour to wreck part of the cherished site—taking his big rig off-roading into the desert, tearing over the Nazca Lines, and leaving "deep scars" on the historic artwork, NPR reports.

The driver was cruising down the highway Saturday when—despite signs telling him he was passing a UNESCO World Heritage Site—he decided to veer off into the desert, according to Peru's Ministry of Culture. As he plowed his rig through the sand and dirt, he tore up at least three of the ancient line drawings under his wheels, irreparably damaging what UNESCO calls "the most outstanding group of geoglyphs anywhere in the world."

The driver, Jainer Jesús Flores Vigo, told police he didn't know the area, and that he'd been forced off the road because of a problem with his truck. But some seem to think Flores might have hopped off the highway to avoid paying a toll, careening into one of archaeology's greatest mysteries so he wouldn't have to cough up a few bucks.

Now it looks like that wrong turn could be costing him a whole lot more. If he doesn't show up to court while prosecutors look into what really happened, Flores could end up paying a $1,500 fine or spend nine months in jail, Peru 21 reports.

Archaeologists are still struggling to understand the significance of the Nazca Lines, which stretch up to 30 miles across the desert and depict birds, monkeys, spiders, and whatever this is:

But they attract a lot of unwanted attention, too. Local officials plan to ramp up surveillance in the area to protect the glyphs by sending out drones to keep an eye on the sprawling site at night, Andina reports. But with hundreds of etchings to protect against the countless idiots who ruin priceless art year after year, it's tough to say how much good a few flying robots are really going to do.

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Related: Ancient Petroglyphs

This article originally appeared on VICE US.

Analyzing Judith Light's Amazing Performance in 'The Assassination of Gianni Versace'

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So, are you hooked on this show yet? Honestly, the first two episodes worried me. I loved last week’s American Psycho tribute, but the early scripts still jumped around too much, introducing a huge cast of characters and cramming years’ worth of vignettes about Andrew Cunanan and Gianni Versace into less than two hours. All that exposition made it hard to get emotionally invested in any one story. As soon as you started to care about Gianni and Antonio, there was Andrew bellowing “Gloria” in a stolen truck, or some FBI dope confusing Versace with Liberace.

Last night’s “A Random Killing” was something entirely different—a spare, focused episode and easily my favorite so far. I’ll get to the fact-vs-fiction part soon (promise) but first we need to talk about Judith Light. Who else could’ve played Marilyn Miglin, the wife of Cunanan’s third victim and allegedly closeted Chicago real estate magnate Lee Miglin? She’s a complicated woman. The queen of HSN is sharp enough to realize something’s wrong in her marriage, yet she loves Lee for his belief in her. And yet, her reaction to his murder is so practical! She goes into crisis-PR mode, feeding the police narratives to obscure the reality that a halo of gay bondage magazines surrounded Lee’s body. But there’s pain under the surface. When she finally lets down her guard, the monologue Light delivers about being a “real wife” is heartbreaking.

Darren Criss gives the episode’s other great performance. It’s chilling to watch Andrew slowly turn on Lee, puncturing the romantic veneer of what is actually a business transaction before mocking his powerful prey as he wraps Lee’s face in tape. Does writer Tom Rob Smith sometimes overload his dialogue with symbolism? Absolutely—“Concrete can build, but concrete can kill” is just awful—but the most revealing exchange in a mostly excellent script takes place in Lee’s study, when Andrew psychoanalyzes his host’s plan to build a tower so tall that its observation deck will look down on the Sears Tower.

Andrew sees that the project is really an egotistical power move; Lee protests, unconvincingly, that he’s only thinking of how delighted kids would be by the view. Andrew has a knack for perceiving people’s hidden dark sides, which makes his relationships with the victims he knows personally fascinating. Look for more of that next week. On to the annotations...

Matt Dinerstein/FX

Lee and Marilyn Miglin

They weren’t international celebrities like Versace, but Lee and Marilyn Miglin were well known and loved in Chicago society circles. As Marilyn helpfully points out in the episode, the couple’s story was a classic “American Dream” narrative: Lee was the son of an immigrant coal miner who talked his way into his first real estate job at age 31, rising quickly from there. As Maureen Orth reports in Vulgar Favors, the firm he founded with business partner Paul Beitler built many of downtown Chicago’s most prestigious edifices, including Madison Plaza and the Chicago Bar Association Building.

The Miglins also independently owned over two dozen properties in the city. But Lee’s and Beitler’s grandest ambition, to build a 2,000-foot tower called the Skyneedle that would have been the world’s tallest building, remained unrealized. (The Chicago Tribune published a fascinating article on the project shortly after Lee’s murder.)

Marilyn was a model-turned-makeup mogul whose eponymous cosmetics line—particularly, a perfume called Pheromone—became a Home Shopping Network sensation. Orth notes her complicated personality, citing an associate who observed, “She’s not a cream puff… Marilyn hides it till she needs to bring it out.” When she returned from her business trip to Canada to find her Gold Coast townhouse in disarray, she cryptically told her neighbors, “I know he’s dead and they’ll never catch him. They’ll never find who did this.”

The lack of emotion she displayed in the wake of Lee’s murder really was a topic of local gossip. Marilyn remarried in 1999, but her second husband, the businessman Naguib Mankarious, died soon after, while getting a facelift. A lawsuit caused her to file for bankruptcy in 2007. Nevertheless, she persisted. Over a decade later, Marilyn is still alive and hawking her wares on HSN. (Here’s a video from 2017.)

Matt Dinerstein/FX

Lee’s Murder

The show’s account of Lee Miglin’s murder and its aftermath sticks pretty close to the facts. Yes, Marilyn returned to find a Coke can and an open carton of ice cream in her normally spotless kitchen, while neighbors spotted a ham with a knife stuck in it in the library and signs that a dark-haired man had taken a bath in one of the bathrooms. Lee’s body was found in the garage next to an assortment of gay porn magazines, fully dressed but wearing lacy Calvin Klein bikini underwear, his ankles tied with an extension cord and his face wrapped in masking tape.

What happened before the murder isn’t nearly as clear. Was Lee Miglin a closeted gay man? How did Andrew end up in his home? Did they already have some kind of relationship? An expert told Orth that there was likely a sexual element to the killing. Signs that Cunanan had hung around at the Miglins’ for a while after the crime suggested he knew Marilyn was out of town. And a neighbor named Betsy Brazis spotted Lee talking with a younger man in his kitchen shortly before his death.

An AIDS educator, Brazis also mentioned to Orth that “Lee’s name would come up occasionally as a gay ‘straight’ man” in the support groups she led. A local queer newspaper published an anonymous report that Miglin had been spotted in gay bars, although other Chicago journalists swore to Orth that they tried and failed to find evidence that he slept with men. Meanwhile, Orth plays up Lee’s stereotypically gay characteristics, from his neatness to his effeminacy. These descriptions are kind of uncomfortable.

But the investigation into Andrew’s motive never got far, in part because Chicago law enforcement and other local officials were personally invested in protecting the family’s good name. The murder was declared random. An anonymous city official told Orth, “The case is closed. There’s nothing in the file. His employees loved him. The church loved him. His wife loved him. Case closed.” Twenty years later, the suggestion that Lee was anything less than a heterosexual family man remains controversial. A recent Chicago Sun-Times headline reads, “Revisiting Chicago murder, FX series depicts Lee Miglin as gay, close to killer.”

The piece quotes American Crime Story executive producer Brad Simspon, who explains, ““Our writer, Tom Rob Smith, had to dramatize what we believe happened that weekend starting from the established facts of the crime scene. Based on the evidence, we believe that Lee and Andrew did know each other, and Andrew’s attack, as with all his victims except for William Reese [the man Andrew kills for his truck later in last night’s episode], was targeted and specific.” The implication is that homophobia not only prevented the truth behind Miglin’s death from coming out, but—along with that exasperating car-phone leak, which did happen—also contributed to the FBI’s failure to catch Cunanan before he killed again.

Duke Miglin

Wait, there’s more. Remember Duke Miglin, Lee and Marilyn’s 25-year-old “Hollywood actor” son? Evidence exists that he and Cunanan knew each other before the murder. Although Duke and Marilyn always denied having ever met him, acquaintances of the family told Orth that there was something off about their evasions. Shortly after Lee’s death, Andrew’s friends confirmed to the Minneapolis Star-Tribune that he and Duke “spoke frequently.”

And, in an interview with Orth, two of Lee’s professional acquaintances related a memorable encounter with the Miglins at United Airlines’ Red Carpet Lounge at LAX, a few years before Lee’s death. “The Miglins were on their way to Hawaii for family Christmas, and were waiting for Duke to join them,” Orth writes. “He finally arrived with a friend, who made a great impression.” When they saw Cunanan’s photo, both confirmed that he was the man they’d met at the airport.

So, what happened to Duke? Well, despite his big break in Air Force One, he didn’t pursue his Hollywood dreams for long. Instead, he got married, had kids and got into the family real-estate business. Last year, Duke insisted to a Chicago ABC affiliate, “There was no relationship whatsoever. A lot of false things were brought up and they were very hurtful, very painful, for me personally and there were attacks on me as well that I really didn't appreciate. And I still don't.”

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This article originally appeared on VICE US.

Does 'The Cable Guy' Actually Suck?

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A bleak look at the loneliness of the TV Generation, Ben Stiller’s 1996 comedy The Cable Guy starred Matthew Broderick, an unassuming guy who needs a cable hookup, opposite Jim Carrey, a stalker who desperately wants a friend. “Chip Douglas” is the name the cable guy uses to introduce himself to Broderick’s character, Steven; after a series of awkward moments between the pair, newly-single Steven makes the regrettable decision to accept Chip’s invitation to hang out the next day.

Their acquaintanceship quickly intensifies with Chip taking things to the extreme, exhibiting some disturbing (yet admittedly entertaining) behavior. After Chip makes an effort to reunite Steven and his ex-girlfriend, Steven distances himself from Chip and his stalkery ways. This causes Chip to go to even greater measures to ruin Steven’s life, culminating with a dramatic fight scene on a giant satellite.

It’s difficult to tell whether Carrey’s character is a sinister force or simply oblivious as to how human interaction works. With flashbacks of his dark childhood, sitting alone in front of the television with no one around, the audience can’t help but to sympathize with him. At one point in Chip and Steven’s short friendship, they have dinner together at Medieval Times where Chip’s a weekly patron. Even a day-to-day act like having a sit-down dinner needs to be distracting for Chip; he needs to be perpetually entertained by a show, his enjoyment heightened when it’s revealed that he had volunteered themselves to become apart of the spectacle.

The Cable Guy was released just two years after Carrey notched a string of box office hits, including Dumb & Dumber, The Mask, and Ace Ventura: Pet Detective. 1994 was also the year that saw Stiller’s directorial debut Reality Bites, which received mixed reviews but has since become a cult classic. A marked departure from Carrey’s wacky and cringy-but- lovable characters from the 1994 films, The Cable Guy was perhaps the first time an audience witnessed Carrey in an unlikable and malevolent role. (Sure, he played a villain in 1995’s Batman Forever, but his depiction of The Riddler could hardly be considered malevolent, or even unlikable.)

For this reason, even though The Cable Guy fared well in the box office, the film was met with mixed reviews from critics. Many panned the film for featuring a character unlike the Carrey they knew and loved; Roger Ebert wrote, “We want to like Jim Carrey. A movie that makes us dislike him is a strategic mistake.” Carrey’s performance was not a continuation of the characters from his previous box office successes, but did the film owe it to the audience to continue assigning him the same roles?

Perhaps the Jim Carrey audiences loved in 1994 wasn’t the real Carrey at all. In the recently released Netflix documentary Jim & Andy: The Great Beyond, Carrey’s interviewed about the never-before-seen behind-the-scenes footage of him working on the Andy Kaufman biopic Man on the Moon. His Kaufman-like method acting approach to the role of Andy (and Andy’s alter ego Tony Clifton) caused all three personas—Jim, Andy, and Tony—to wreak havoc on the set. In the interview, Carrey refers to the audience thusly when discussing his start in comedy: “I asked myself, what do they want?”

He reveals that he built up a character—his “Hyde,” a carefree person totally unlike his real self—to entertain the masses. This outrageous on-stage persona made him a bona fide Hollywood star, and if at any point in his emerging career Carrey was opting to leave this alter ego behind, it was during The Cable Guy, in which he went from the “carefree guy” to the guy who cares too much.

Indeed, the original script was a lot less dark before Carrey convinced the writers to make changes. In an interview, Judd Apatow, a producer on the film, told Vulture: “I always thought that the script Lou Holtz Jr. wrote was great, and it’s what got us all very interested. But Jim wanted to change it significantly and make it much more of a comedic version of The Hand That Rocks the Cradle or Unlawful Entry, whereas the original draft was a little bit more like a What About Bob? annoying-friend movie.” It was the first time an audience witnessed Carrey demonstrating his emotional range beyond acting like a carefree fool, and that seems to be Carrey’s doing.

Chip’s lively joyfulness paired with a mysterious inner darkness has become a familiar aspect in Carrey’s characters. A slew of Jim Carrey’s outrageous characters that also exhibit a marked duality come after this film—specifically, I Love You Phillip Morris and especially Me, Myself & Irene, where his character tries to function with two dichotomized personalities. After the release of this film, he went from well-meaning fool to complicated individual, shedding certain aspects of the Carrey he created for the audience, and demonstrating his immaculate talent.

Despite having some success as a TV and film star, Ben Stiller’s foray into directing was met with a slew of challenges. His The Cable Guy follow-up, the 2001 satire Zoolander, was met with critical grievance; it didn’t help that the film, which emphasizes the vapidness, egoism, and bad labor practices so prevalent in the fashion industry, was released two weeks after the 9/11 attacks.

Eventually, though, Stiller found praise for 2008’s satirical war film Tropic Thunder, a film that shares successful elements with The Cable Guy. Stiller assigns great actors with roles that are totally unlike their real-life personas; audiences love seeing leading man Tom Cruise as Les Grossman, with a foul mouth and glaring bald spot, and redeemed Hollywood bad boy Robert Downey Jr. as a self-absorbed method actor whose use of blackface highlights his sense of complete obliviousness to the real world. Both Tropic Thunder actors received Golden Globe nominations for Best Supporting Actor, and Downey Jr. was nominated for an Oscar; but Carrey’s character in The Cable Guy was completely misunderstood and criticized for being off-brand.

To reconsider The Cable Guy is to understand its increasing relevance in the postmodern world. Set in a pre-social media culture, the film touches on the very real problems of trading human interaction for time spent invested in fictionalized characters. It’s understandable that, in 1996, not too many people could conceive of a person that spends most of their time indoors staring at a screen without conversing with people on a daily basis. Today, everyone knows someone that exhibits similar behavior. There are entire populations of people glued to social media, ordering delivery from an app to avoid phone conversations, only making friends online.

Throughout the film, Carrey’s character mimics and quotes loads of film and television characters, and in 1996 it might’ve been harder to imagine someone with such a narrow view of the world that they could only communicate through mimicking onscreen characters—but in 2018, the echo chamber of social media coupled with a televised 24-hour news cycle means that people simply repeating what they’ve heard is commonplace.

And ironically, it’s Jim Carrey’s previous characters—from Ace Ventura to Lloyd Christmas— that many kids energetically quoted throughout the 90s. Ace Ventura was the VHS generation’s friend like Ricky Ricardo was to the TV generation, and The Cable Guy illustrates what could happen when real relationships are replaced with one-dimensional characters. It’s a simple moral that’s exceedingly relevant in a world where one can be lonely—even with 10,000 online friends.

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This article originally appeared on VICE US.

Hulu's Spooky New Stephen King Series Is Heading Back to Shawshank

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Ever since 2017's IT adaptation became a surprise box-office behemoth, a whole host of Stephen King spinoffs and adaptations have leaped into production. Netflix already cranked out a pair of films based on King stories, Blumhouse is working on a new Firestarter adaptation, and the sequel to The Shining just found a director. There doesn't seem to be a Maximum Overdrive remake in the works just yet, but it'll probably be announced one of these days, whether we like it or not.

Of all the upcoming King adaptations out there right now, Hulu's Castle Rock anthology series is probably the most exciting. The series won't be a direct adaptation of any single King story, but brings together a bunch of different characters and locations into the same universe. The streaming service released the first trailer for the JJ Abrams-produced show back in October and it looked spooky as hell. On Thursday, Hulu dropped the second Castle Rock teaser—and the thing does not disappoint.

The new clip gives us a deeper look at André Holland's character, who tells Sheriff Pangborn (Scott Glenn) that he's returned home to Castle Rock after receiving a mysterious call from Shawshank prison, likely about the suicide of one of its inmates. His character's investigation appears to lead to another Shawshank prisoner, played by Bill Skarsgård, and sends him lurking around some dark, abandoned buildings and sifting through Microfiche in search of answers.

It's still not totally clear which other beloved King characters will make an appearance in the show, or what the overall plot will be, but from the look of the new trailer—and its creepy dogs and creepier masked men—the show is bound to be terrifying.

Along with Holland, Glenn, and Skarsgård, Castle Rock is set to star Melanie Lynskey and Sissy Spacek, who's back playing a Stephen King character after starring in Carrie back in 1976. This second trailer will air during the Super Bowl this Sunday, but you can watch it ahead of time above.

Castle Rock is scheduled to hit Hulu sometime this summer.

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This article originally appeared on VICE US.

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